Art Movement

Compiled and prepared by:

Mrs. Amabel C. Palangyos
 Art Movements
1. Ancient 10.Romanticism
2. Classic art 11. Realism
3. Byzantine 12. Impressionism
4. Medieval 13. Symbolism
5. Early renaissance 14. Expressionism
6. High renaissance 15. Fauvism
7. Baroque 16. Cubism
8. Rococo 17. Dadaism
9. Neoclassicism 18. Surrealism
 Ancient Art
• often in the form of drawings, found in tombs
such as Egyptian frescos, or recovered pottery
and metalwork
 Classic Art
Greek Art (480-30 BC)
- characterized by idealizing the human
form, the beauty of the nude body, and the
ability of figures to express emotions
- heavily influenced by Greek temples,
Greek mythology
Ex. Sculptures of Greek gods and
goddesses
 Roman Art
• Reflects the ambition of a powerful empire
• Indebted to Greek art (especially in sculpture
and architecture)
 Byzantine (500-1450)
• relating to the Roman Empire established in
the fourth century
• religious art, characterized by massive domes,
rounded arches, and mosaics
• Characterized by iconography (icon – a
religious devotional image usually of portable
size, hanging in a place of honor at home or
religious institution
• Avoided nudity and emphasized drapery
St Mark's Basilica in Venice,
where imported Byzantine
mosaicists were succeeded by
Italians they had trained
Icon of the enthroned Virgin and Child
with saints and angels, 6th
century, Saint Catherine's Monastery,
Sinai
 Medieval
• also called the Middle Ages
• took place from about the 5th century to the 14th
century
• marked with wars and terrible plagues
• Because Christianity was the driving force of Medieval
Period, most art was made for churches and depicted
Christian stories
• characterized by iconography and paintings illustrating
biblical scenes
• avoided nudity
• paintings were flat, with little sense of depth
Giotto
Christ's Monogram Page (Chi Rho)
in the Book of Kells (c.800)
A treasure of medieval painting
and one of the greatest illuminated
gospel manuscripts from Ireland
 Top five Medieval Artists
EQUESTRIAN STATUE OF GATTAMELATA
1. Donatello
 St. George is
considered by
many art historians
as the piece which
more than any
other changed the
direction of the art
of sculpture. In it
Donatello
showcases deep
knowledge of the
human figure at
rest and brilliantly
captures the
tension between
repose and action.

PENITENT MAGDALENE
 Early Renaissance
• Began in the 14th century, revitalized classical
art’s concern with symmetry and naturalism,
searching for perfect forms, revival of large-
scale nude works, applied linear perspective
on paintings
• Masaccio, Brunelleschi, Ghiberti, Piero della
Francesca, Donatello and Michelozzo
Expulsion from the Garden of Eden by
Masaccio
 High Renaissance
• characterized by perspective and more
realistic sculptures and paintings
• marked by balance, perfect symmetry, and
ideal proportion (Vitruvian ideals)
• became the guiding principle
• heroic nudity
• (Leonardo Da Vinci, Michelangelo)
The Creation of Adam, a scene from
Michelangelo's Sistine Chapel ceiling.

Frescos by Raphael in the Stanza della

Segnatura in the Vatican Palace
 Baroque (1600-1700)
• counter-reformation (Catholic resurgence)
• characterized by genre paintings, landscapes,
still lives
• sculpture stressed movement: sculptures are
caught in mid-motion (e.g. mouth open, figure
yielding to the touch of another
Milo of Croton is a sculpture created by Pierre
Paul Puget in 1682
Bacchus, Caravaggio, 1595, Uffizi Gallery
Museum, Florence Self-Portrait With Two Circles, Rembrandt,
1665-1668, Kenwood House, London
The Garden of Love, Peter Paul Rubens, 1630-
1631, Prado Museum, Madrid

The Ecstasy of Saint Teresa

 Rococo (1700-1750)
• Rococo was derived from French rocaille,
meaning pebble or shell and barocco,
meaning baroque. Motifs in Rococo were
thought to resemble ornate or pebble work.
• figures in Rococo painting are slender and
clothed in shimmering fabrics, flowers
dominate gardens and are rich with plant life
• Rococo is more domestic or private than
public display
The Embarkation for Cythera
("L'Embarquement pour Cythère") is a painting
by the French painter Jean-Antoine Watteau
The Bolt (c. 1776-1779) is a painting by French
artist Jean-Honoré Fragonard
François Boucher, Triumph of Venus (1740)
Luis Paret y Alcázar, Charles III Dining Before
the Court (c. 1775)
Jean-François de Troy, The Declaration of
Love (1731)
 Giambattista Tiepolo, The Marriage of the
Jean-Honoré Fragonard, The Meeting (from
Emperor Frederick and Beatrice of
the “Loves of the Shepherds”)(1771–72)
Burgundy(1751–52)
 Neo-Classicism (1750-1815)
• inspired by the unearthing of the ruins at
Pompeii
• time of Industrial Revolution
• dominated by Classicism
Aeneas Tells Dido the Misfortunes of the
Trojan City" (c. 1815) is a painting by French
artist Baron Pierre-Narcisse Guérin

Andromache Mourning Over the Body of

Hector" (1783) is a painting by French artist
Jacques-Louis David
 Der Sultan" (1748) is a painting by French artist
Aurora and Cephalus" (1810) is a painting by Joseph-Marie Vien
French artist Baron Pierre-Narcisse Guérin
 Romanticism (1789-1848)
• heavily influenced by a spirit of individuality,
with a freedom of expression
• photography was born
• trusting the heart not the head
The Third of May 1808 (1814) FRANCISCO GOYA
 Clorinda Rescues Olindo und Sophroni" (1856)
is a painting by French artist Eugene Delacroix
Alexander von Humboldt" (1806) is a painting
by German artist Friedrich Georg Weitsch
The Death of Sardanapalus are two paintings
oil painting on canvas, dated 1827 by Eugène
Delacroix
Dedham Vale" is an oil-on-canvas painting by
English artist John Constable
Episode of the Belgian Revolution of 1830 is an
oil painting by romantic painter Egide Charles
Gustave Wappers, currently housed in the
Muse d'Art Ancien, Brussels
 Realism (1848-1860s)
• Realists believe in painting that the five senses
can perceive.
• Realist philosophy: “Show me an angel and I’ll
paint one.”

GUSTAVE COURBET
Edouard Manet, though often categorized
as an Impressionist, described himself as a
Realist. His initial works include some of the
most important masterpieces of Realism
among which is Olympia. The painting
depicts a reclining nude woman attended by
a maid. When it was first exhibited at the
1865 Paris Salon, it caused a huge
controversy; not because of Olympia’s
nudity but because there are a number of
details in the painting which identify her as
a prostitute.
Nighthawks (1942) – Edward
The Horse Fair (1855) – Rosa Bonheur
This painting depicts the funeral of the great-
uncle of Gustave Courbet in the small town
ofOrnans in France. Courbet “painted the very
people who had been present at the interment,
all the townspeople”. A Burial At
Ornans caused a storm on first being displayed
at the 1850–51 Paris Salon.
Francois Millet is famous for his depictions of
peasants. The Angelus is the last of his iconic
trio of paintings after The Sower and The
Gleaners
 Impressionism (1872-1880s)
• The most conspicuous characteristic of Impressionism in painting
was an attempt to accurately and objectively record visual reality in
terms of transient effects of light and color.
• captured the dappling effects of light against a given surface so that
the times of the day and seasons of the year control the
appearance of the objects
• Impressionists loosened their brushwork and lightened their
palettes to include pure, intense color
• abandoned traditional linear perspective and avoided the clarity of
form that had previously served to distinguish the more important
elements of a picture from the lesser ones. For this reason, many
critics faulted Impressionist paintings for their unfinished
appearance and seemingly amateurish quality.
Water Lilies by Claude Monet
CLAUDE MONET – "Impression, sunrise"
Dance at Le moulin de la Galette by Pierre-
Auguste Renoir
 Symbolism (1890s)
• Symbolists believe in the unseen forces of life,
the things that are deeply felt rather than merely
seen.
• suggests ideas through symbols and emphasized
the meaning behind the forms, lines, shapes, and
colors
• The symbolists produced imaginary dream
worlds populated with mysterious figures from
biblical stories, Greek mythology and fantastical
creatures.
• The symbolist’s favorite subjects were: love,
fear, anguish, death, sexual awakening, and
unrequited desire…
 Expressionism (1905-1925)
• developed in Germany and Austria as a response
to the dehumanizing effects of industrialization
• artistic style in which the artist seeks to depict
not objective reality but rather the subjective
emotions and responses that objects and events
arouse within a person through distortion,
exaggeration, primitivism, and fantasy and
through the vivid, jarring, violent, or dynamic
application of formal elements
• highly subjective, personal, spontaneous self-
expression
The Scream by Edvard
Munch seems to be the
most known Symbolist
work. It is the best
exemplification of
the fin-de-siècle feelings
of isolation,
disillusionment, and
psychological anguish
conveyed through
distorted forms,
expressive colors, and
fluid brushwork.
Munch’s style is based
on the real anxieties of
modern existence.
His paintings explore
themes of illness,
loneliness, despair, and
mental suffering
associated with love,
conditions that Munch
deemed emblematic of
“modern psychic life.”
Wassily Kandinsky, Der Blaue Reiter, 1903
El Greco View of Toledo, 1595/1610 is
a Mannerist precursor of 20th-century
expressionism
 Fauvism – (1905)
• One of Fauvism's major contributions to modern
art was its radical goal of separating color from its
descriptive, representational purpose and
allowing it to exist on the canvas as an
independent element.
• simplified forms and saturated colors drew
attention to the inherent flatness of the canvas or
paper strong and unified
• heavily characterized by broad flat areas of
violently contrasting colors
Portrait of Mlle Yvonne Landsberg
Henri Matisse
Charing Cross Bridge, London (1906)
André Derain
 Cubism – (1907-1930s)
• Led by Pablo Picasso and Georges Braque
• The Cubists broke from centuries of tradition in their
painting by rejecting the single viewpoint, instead they
used an analytical system in which three-dimensional
subjects were fragmented and redefined from several
different points of view simultaneously.
• The movement was conceived as ‘a new way of
representing the world’, and assimilated outside
influences, such as African art, as well as new theories
on the nature of reality, such as Einstein’s Theory of
Relativity
 Dadaism
• a form of artistic anarchy born out of disgust for the
social, political and cultural values of the time.
• a reaction to World War I and the nationalism that
many thought had led to the
• marked by its mockery of materialistic and nationalistic
attitudes, proved a powerful influence
• on artists in many cities, including Berlin, Hanover,
Paris, New York, and Cologne, all of which generated
their own groups
• short-lived
 Surrealism – (1920s-1930s)
• The exploration of the dream and unconsciousness as a valid form of reality
• Surrealism represented a reaction against what its members saw as the
destruction wrought by the “rationalism” that had guided European culture and
politics in the past and that had culminated in the horrors of World War I.
According to the major spokesman of the movement, the poet and critic André
Breton, who published The Surrealist Manifesto in 1924, Surrealism was a means
of reuniting conscious and unconscious realms of experience so completely that
the world of dream and fantasy would be joined to the everyday rational world in
“an absolute reality, a surreality.” Drawing heavily on theories adapted from
Sigmund Freud, Breton saw the unconscious as the wellspring of the imagination.
He defined genius in terms of accessibility to this normally untapped realm, which,
he believed, could be attained by poets and painters alike.
• pushed against the boundaries of socially acceptable behaviors and traditions in
order to discover pure thought and the artist's true nature
• Fundamentally, Surrealism gave artists permission to express their most basic
drives: hunger,
• sexuality, anger, fear, dread, ecstasy, and so forth
The Tilled Field - Joan Miro
 References
• https://www.widewalls.ch/surrealist-
paintings/max-ernst/
• https://www.theartpostblog.com/en/neoclass
icism/
• https://www.ranker.com/list/
• http://www.visual-arts-cork.com/history-of-
art/
• https://en.wikipedia.org/wiki/